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Verdi;Giuseppe Otello

18 customer reviews

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Product Details

  • Actors: Leo Nucci, Plcido Domingo, Barbara Frittoli, Ernesto Panariello, Giovanni Battista Parodi
  • Directors: Carlo Battistoni
  • Format: AC-3, Classical, Color, Dolby, DTS Surround Sound, DVD-Video, Subtitled, Widescreen, NTSC
  • Language: Italian
  • Subtitles: English, German, French, Spanish, Italian, Chinese
  • Region: All RegionsAll Regions
  • Aspect Ratio: 1.77:1
  • Number of discs: 1
  • MPAA Rating: NR
  • Studio: Arthaus Musik
  • Release Date: Aug. 25 2009
  • Run Time: 140 minutes
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (18 customer reviews)
  • ASIN: B002ED6UZ0
  • Amazon Bestsellers Rank: #95,940 in DVD (See Top 100 in DVD)
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Customer Reviews

4.7 out of 5 stars
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Most helpful customer reviews

6 of 6 people found the following review helpful By Emma de Soleil on June 21 2004
Format: DVD
I've never been a fan of Verdi's Otello, yet I have the recordings with Martinelli, Vinay, del Monaco, McCracken, Domingo and some of today's Otellos (Of whom nobody stands out in particular). My favourite Otello on disc is by far Ramon Vinay who recorded it live with young Renata Tebaldi. (Available here at Amazon btw -->
Domingo is an Otello in the tradition of Vinay, his baritonal tenor (He started as a baritone btw) being perfect for the jealous moor. Of course he lacks the acuti but Domingo never had a rock-solid C. To me it doesn't matter at all because his portrayal of Otello is absolutely stunning. Esp. the finale is moving and the fact that Domingo is a superb actor only adds more (...)here. Maybe not at his vocal best but the total package is absolutely incredible.
Now for his leading lady, a woman who like all great ones has aroused much controversy as well as hysteria. Having heard her live at last I can assert that Fleming's full lyric voice is indeed BIG, bigger than Cotrubas or Gallardo Domas. There's a ping to it now that shows maturity and spinto qualities but thank god she never went Ricciarelli's way who sang Elisabetta, Aida and even Turandot (On disc) in her youth (!). If she continues to look after herself like this she is following Freni's steps. BUT: I have to agree that she sometimes tries too much. Not being a mere deliverer of tones she always tries new ways, new colours and interpretations. Some work, some don't. Her earlier Il Pirata, which I have, was overdone but the late ones at the MET were perfectly balanced and incredibly moving. She is a singer who matures through experience.
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4 of 4 people found the following review helpful By Jessica Robbins on April 17 2004
Format: DVD
I have just finished watching this stunning performance of Otello. The performance is so incredible that I feel absolutely compelled to write this review.
The biggest glory of this set is the absolutely stunning portrayal of the moor Otello by Placido Domingo. I've never been a huge Domingo fan (although I certainly respect him greatly). I tend to think that he has his fingers in too many pies. But this performance has changed my view completely. Domingo is not only vocally in superb form, his intense dramatic portrayal is electrifying! He loses all self-consciousness on stage and becomes Otello - there is no hint that he even thinks he is singing in an opera, he is so absolutely consumed by the role. Every expression on his face is under his absolute control. This is one of the most gripping portrayal of an operatic character I've ever seen. In this performance, Domingo absolutely blasts everyone else away - Fleming, Morris, Croft....
The second glory of this set is the absolutely ravishing soprano of Renee Fleming. Renee Fleming is also very much into her character. It is somewhat cruel to juxtapose Fleming's Desdemona with Domingo's towering Otello. Because you sense that Fleming's characterization is weaker than Domingo's. But that doesn't mean that Fleming cannot act - just that Domingo is simply too good in this role. In any case, Fleming's dramatic portrayal is also very intense - you feel and see her emotions and sorrow throughout the opera. She is a picture of chaste innocence in Act 1. In Act 2, her shock and grief are palpable. In Act 3, she gives Desdemona a somewhat stronger character than usual when Desdemona denies any marital infidelity. Her sorrow is heart-rending when Domingo accuses her of infidelity and finally, curses her at the end of Act 3.
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3 of 3 people found the following review helpful By A Customer on Sept. 23 1999
Format: VHS Tape
"...The Willow Song and Ave Maria provided one of those episodes of transcendental rapture which operagoers remember all their lives, singer, conductor, players and audience caught together in an enchanted spell..." Andrew Porter's review of Kiri Te Kanawa's brilliant performance as Otello's wife.
A perfect production - Placido Domingo demonstrates why he is the best tenor in the world, with a completely commanding performance - catching the balance of Otello's character perfectly.
Russian Sergei Lefeirkus is a vocally good Iago, but lacks a bit of the real wickedness of a brilliant Iago...Cassio is good and the rest of the cast, Emilia (though wobbly at times) included, are wonderful. Kiri Te Kanawa is a stand out performer, a magical Desdemona, with mystery & beauty - acting out the desperation of an unhappy wife to perfection. Domingo and Te Kanawa have real chemistry, better than any operatic 'couple' performing on the world's stages, and the love scene is extremely passionate and vocally beautiful. The final scene moved me to tears...Solti's orchestration is great, though perhaps a little loud sometimes?!
Anything negative aside, it's as perfect an Otello as you will ever find. Buy it!
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2 of 2 people found the following review helpful By Philip Ofenberg on Sept. 13 2004
Format: DVD
From all of Domingo's recorded live performances of Otello, this 1996 opening night from the Met is the one that I like the most. It is amazing to hear and see, more than 21 years after his debut in this role, such a well preserved voice, such a complete actor, and such a fantastic rendition of the most difficult tenor role from Verdi's opera. There are no transpositions, and there is only one brief moment at the end of Act 2, where his voice suddenly sounds tired, but this is the only such moment from the entire duration of the magnificent rendition of the score. Fleming, in one of her first Desdemona, sings very beautifully, and with a lot of passion, her opulent voice admirably suited to the role. Morris is trying to cope with notes lying to high for his stentorian bass-baritone, which lacks in some instances the suavity and vocal inflections one would expect, (all the high A-s were also omitted from the drinking song).The other roles are nicely sung, and the chorus and orchestra provide a solid support for the principals under the baton of Levine.
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